“I get to wear a tiara for a living,” Henderson said. “They love that.”

Henderson doesn’t don the crown for the heck of it. (Well, probably.) She’s dancing the lead role in Lone Star Ballet’s production of “Sleeping Beauty,” opening Friday for three performances in the Globe-News Center for the Performing Arts, 500 S. Buchanan St.

“It’s amazing,” Henderson said. “I get to be a real princess. It’s every little girl’s dream.”

Henderson performs the role of Aurora in the ballet, one of the most famous in the classical repertoire.

“I don’t think anyone of any age ever gets tired of a great fairy tale,” said Vicki McLean, LSB’s director of dance and choreographer for the production. “I think that’s what has kept it alive.”

The story — in which Aurora pricks her finger and, along with her entire court, falls asleep for 100 years before being awakened by love’s true kiss — certainly doesn’t hurt, particularly given its perennially popular adaptation by Disney. But the music, McLean said, also gives the ballet staying power.

The Tchaikovsky score, completed in 1889, is so indelibly tied to the story that Disney even borrowed some of it for its 1959 film.

Henderson can’t even remember which adaptation came first for her — the ballet or the cartoon.

“I probably learned about them at the same time,” she said. “I started dancing when I was 3.”

The role is particularly challenging, she said, despite that long nap.

“I might sleep for a little while, but not too much,” she said.

The demands come from the strictly traditional classical choreography from 19th century master choreographer Marius Petipa, whose steps are still used in most productions of the ballet, including LSB’s. But the Amarillo company will adapt the choreography in some ways, from trimming or cutting some dances to adding new movements.

“Petipa really liked to choreograph for the main ballerina, the prima, so the things I’ve added are (for other characters),” McLean said. “If the audience sees a lot of passes and walks, they’re not really interested in it. They want big things in dance, so I’ve taken some liberties with it, as have so many other choreographers.”